Seed Thoughts for Singers Part 4

REPUTATION COMES SLOWLY.

Reputation which will last comes only by slow degrees. Man may spring into notoriety at a bound because of some fortuitous circ.u.mstance and he may hold the prominence which he gains by his strength of manhood, but the cases of this kind are rare. It is by "pegging away" at something which one knows to be good until by the merit of the "something" and the worth of the labor put into it, attracts the attention of a few judges of its worth, that a reputation is begun. It is begun then, only. Some more of the same work must follow but those who have seen the worth now a.s.sist in thought as well as in word and the circle which appreciates the worth grows. When good reputation has begun nothing can stop its growth except some unwise or unmanly act of the person himself. For this reason no man need strive after reputation. Do well what is good and the result will take care of itself. The reputation will not come because of striving. It will come to any man who is doing good work and living a right life. It takes time to make the lasting reputation and that impatience which so often influences Americans, prevents the growth of many a reputation.

STUDY POETRY.

Every singer should be an earnest student of poetry. There are minds to which poetry does not appeal as does the practical prose. But in all minds there is enough of latent love of poetry which can be developed until poetry appeals with even stronger force than does prose. Can your heart glow with the beautiful sunset? Do you joy over the song of the bird? Has the spring blossom a message of delicacy to you? Then have you that love of nature which can give you understanding of the poet. A faculty of mind exercised grows with its use. A singer _must_ have imagination. Without it, the best vocalization lacks the spark of true life. Without it, coldness displaces warmth, and darkness, light. The very essence of poetry is imagination. One word in poetry often suggests that which practical prose uses ten words to express. The study of poetry, that is, making poetry a study so that one knows what is in it, helps make good singers. He who has not yet thus used poetry may well plan something new for his winter evenings.

MANNERISMS SHOW CHARACTER.

Mannerisms give knowledge to the observing person of our character and intellectuality, and, on that account, are to be studied and used to our advantage. Such as would prepossess our hearers in our favor should be retained and such as would be unpleasant to the majority of people should be trained out of our unconscious use. But few think long enough about a singer to be able to tell their reason for liking or disliking him. The voice and art may be good and yet the audience may not like him. On the other hand, the voice may be meagre and the music faulty, yet there will be personal charm which is captivating. The manners which express the better side of our individuality will be those retained. Certain it is, that manners are the expression of individuality and there are no two persons whose action is just the same, any more than that there are two faces or two voices alike.

It is doubtful whether one can judge the good and bad in mannerisms in himself. We are so liable to accept our intention for actual performance that we deceive ourselves. Then, too, mannerisms which would be permitted in one place are not admissible in another. The ways of a German dialect comedian would not serve the Shakesperian comedian nor would the physical accompaniment of the songs of the London Music Hall be proper for the _lieder_ of Schubert. The teacher enters at this place and by judicious physical drill, based upon the knowledge of what is wanted in true art, shows the singer what to cure and eradicate and what to make more prominent, wisely retaining those mannerisms which show the higher, n.o.bler and more pleasing part of the singer's individuality.

PROVIDE FOR THE YOUNG.

Parents see the necessity of providing the means for their children to learn to take care of themselves. A fortune left to a son frequently, if not generally, proves a curse. A "good match" may turn out badly for a daughter. A few hundred, or even one or two thousand, dollars invested in musical education is sure to permit the son or daughter to earn a comfortable living. It will be more than a generation before the field for musical activity is supplied. More than that, in music, every further elevation of the public increases their desire for better and more expensive things in music. There is no prospect that the musical field will be over supplied with artists and teachers. Happily, the profession is open to women as well as to men. Our daughters can, then, receive preparation for independence in it. The necessity for marriage for mere living has gone by. Daughters are as independent of marriage as are sons. The time was when boys were held in greater esteem and value than were girls because they could take business positions and acquire wealth. The new openings for women have changed this. Woman is making a place for herself, not through the ballot and because of political influence, but because she is taking position in the business and professional world. Everyone, man or woman, should be prepared to take some position which permits a living income to be made. Parents are using music as the means of independence to their children. It is better to spend the hundreds of dollars in education in music than to invest that sum in any way to provide a fortune for the children. The life-income from the investment is better for the children.

THERE ARE NO MISTAKES.

How often does every one of us make the "mistake of a lifetime?"

Probably everyone has made that remark many times regarding himself. The circ.u.mstances of life have seemed to point out a certain path. We have followed it. Later we felt it to be wrong. It was a mistake. Did it do us any good? No. Did we learn any lesson? No. Will we not make another "mistake of a lifetime" to-morrow, if we have the chance? Yes. Such is human nature. So we go on. But there is another side to the s.h.i.+eld.

There are no "mistakes of a lifetime," if we sum up the whole life. None of us can do that yet, but we can put a number of years together and see a result in them. How about that mistake over which you have been mourning? Was it a mistake? Is it not possible that if you had what you think would have been yours had you taken a different course, you would be worse off than you are now? A young man who is making his mark recently said, "I am glad my father lost his property. Had I been supplied with a lot of money while at college, I would have been a profligate." When the father lost his money he probably thought he had made the "mistake of a lifetime." Which would any father prefer, poverty or a wrecked family?

Many pupils rue a supposed mistake in the selection of a teacher. There is no mistake. Every teacher who can attract pupils can teach something and every pupil can learn something of him. The mistake, if one was made, was by the pupil, in not learning what that teacher could teach, and when he had gotten that, in remaining longer with him.

Don't talk about the mistakes but so shape circ.u.mstances that all events may be used for good. There is something which can be utilized in everything which happens to us. The bee finds honey in every flower--more in some than in others, to be sure, but none are without sweetness.

REGULARITY.

"It is the regularity of the laws of nature which leads us to put confidence in them and enables us to use them." Thus writes Dr. McCosh and he was a keen observer of men and things. His remark suggests that teachers can and will be trusted and used who, by their regularity, awaken confidence. He who attracts and enthuses can for a time command attention. His work will only be lasting and his hold upon the musical public be good when there is something of permanent value behind the enthusiasm. Slowly but surely we are reaching the knowledge that in music there is all of life, and that only as we make music part of ourselves is our life rounded. We have reached the place when we can feel that he who has no love of music suffers an infirmity akin to the loss of sight or hearing. We have also reached the belief that everyone must cultivate the musical faculty. We are pa.s.sing through this life to one beyond and he who raises himself nearest the perfect man, best uses the span from birth to death. In and through music, especially on its side of education, more can be done than can be in any other way.

General culture, college education, mental development are, in their proper place, to be used but neither will do so much for man as will music. In thus developing that faculty we acquire something also, which, as executant musicians, gives us delightful influence over our fellows.

Such is the possibility of a teacher to so make mankind better that he becomes a n.o.ble instrument of service in G.o.d's hand. But he who knows his position best and by regularity of mind, body and estate, by system, certainty and reliability, obtains the confidence of the musical public, can best be used as an instrument in that service.

a.s.sERT INDIVIDUALITY.

Personal freedom of action must for a time be surrendered by pupil to teacher but it should be for limited time only. The impress of the teacher's mind can be made upon the pupil in two seasons of study if it can be at all. Perhaps most pupils receive all that the teacher can give them in six months. As soon as they have that should they leave that teacher? Not at all. They should then begin the use of their own individuality--letting it, little by little, a.s.sert itself. The practical application of individuality should be as carefully attended to as is any part of the pupil's education. Perhaps it should have more attention. More than one, more than a thousand, every year wrecks her good and great future by what we term wilfulness or waywardness. The name is misapplied. The individuality is then a.s.serting itself and it is then that the pupil needs the skillful and firm hand of the master. The keen clear judgment which comes from experience is worth to the pupil more than the cost of many lessons. The life is planned then. It is a time of bending the twig; the tree grows that way. The wrecking which is so often seen arises because the pupil changes to a teacher who does not understand the case. The new teacher must study it all over. Before that can be done the pupil is spoiled and disappears, disappointed and disgusted. Receive the personality of the teacher, pupils, but then allow him to lead you onward as you bring out your own individuality.

EDUCING.

Educing is bringing out or causing to appear. Teachers impart and call that educating. The reverse of the common way is best. Instead of imparting all the time to the pupil seek to draw out from the pupil that which is in him. Cause it to appear. In this way will one's teaching faculty be improved and he will become the better teacher. Often the education must be against counter influences and, it seems frequently, as if it were against the wish of the student himself. Yet the skillful teacher can overcome the prejudice of the pupil and the adverse influences, and reach his results. A help in thus using one's skill lies in the fact that what is to be drawn out lies divided into two distinct cla.s.ses. One is that which pertains to execution and the other to knowledge. They are widely separated. The first is to be trained so that it cares for itself without the thought of the student or singer and the other so that it is always ready to respond to the quickest thought.

There is in the two cla.s.ses variety enough to keep the most active teacher on the alert and to make for him the highest kind of ministration to mankind which is open to anyone. Later may come the comfort of joining the two cla.s.ses, synthetically, thereby making the rounded and completed artist.

It occurs to one's thought at once that he who would draw out what there is in another, must know something of the machinery which he would cause to act and also of the mind which is in command of that machinery. This is the basis of the teacher's education, without which he cannot be a good teacher. As a young teacher he has the right to teach those who know less than he does. He imparts then. As an educator he must be more than what he was at first. He must keep his own education above that of his fellows and he must become able to educe.

CHAPTER VI.

CUNEUS CUNEUM TRUDIT.

"_Art! who can say that he fathoms it! Who is there capable of discussing the nature of this great G.o.ddess?_" =Beethoven=.

"_Whatever the relations of music, it will never cease to be the n.o.blest and purest of arts_." =Wagner=.

VI.

"CUNEUS CUNEUM TRUDIT."

VOCAL TONE.

All vocal tone used in singing when produced at the vocal bands is small and probably always about alike. The tone which we hear is "colored", "re-inforced" etc., on the way from the vocal bands to the outer air. In order that the tone shall carry well and be heard in purity throughout a hall, the initial tone must be added to. This is done by its reverberation in cavities where there is confined air. By confined, is meant, air which is not being greatly disturbed. There are four such cavities, or chambers, in connection with the production of voice. The chest, the ventricles, the inner mouth and the nose. To have the tone resonant the air in these chambers must be held in confinement. The way they can be utilized is best ill.u.s.trated by the drum. A blow on the drum-head sets the air in the drum into vibration and that air re-inforces the tone caused by the original blow. Tone made by the vocal bands is re-inforced by vibration in the chambers of the body, and the connection of these chambers with the outer air sets into vibration the air of the room.

Something might be said about the thickness of clothing to be worn over the chest while singing. It is certain that thick woolens worn during singing, absorb much of the vibration of the tone and lessen the amount of voice. Tone comes from the whole body and chiefly from the chambers in which air is confined. Our singing tone does not come out of the mouth alone. It comes from shoulders, back and chest without going near the mouth.

The stillness with which the air is held in the chambers of vibration has much influence upon the volume of tone, and upon the quality. Just now we will consider the chamber within the mouth. The s.p.a.ce between the back of the throat (as seen in a mirror) and the teeth is this chamber.

The air in this must be held as still as it can be. The practical way of doing it, and the way of telling pupils how to use themselves so that they can do it, tax the ingenuity of the teacher. A picture, or an image, is the best way perhaps. The air in the mouth should be like the water of a still lake. Into it, at one end, a gentle stream may flow. It does not disturb the lake. It causes a ripple where it enters. It may raise the elevation of the water in the lake, and the superfluous water may flow off at the other end of the lake. Now, suppose a mountain stream comes rus.h.i.+ng into the lake. It stirs everything up, and rushes out at the outlet in the same rough way. In the still chamber of air in the mouth there must be no "mountain streams." The quiet lake must be imitated. A little air, which has been vibrated at the vocal bands may enter it, and not disturb it. That initial tone, always a quiet one, will be re-inforced by vibration in the mouth and will issue forth large and round. The amplitude of vibration will determine its volume. The shape and size of the cavity of reverberation can constantly and instantly change and by such change the tone can be regulated.

The chamber of still air cannot be utilized unless the organs of respiration are working correctly and strongly. A forceful blast of air sent through the mouth will dissipate all vibrating waves. It is useless to try to the initial tone until after the diaphragm is in good working order. When that is all right then employ the re-inforcing chamber in the way given above and resonance of tone will be obtained. It is by so using the respiratory column and re-inforcing the tone made by the vocal bands that a person can be made a good vocalist in a few weeks. It is not necessary to take years to cultivate the voice. (It _is_ to make a good singer.) From five to eight weeks, if the student does right, will perfectly cultivate a voice.

TRUE ART IS DELICATE.

All true art is delicate. Music is the most delicate of all arts. Music is expressed through thought and emotion. In this, music has much the advantage over sister arts. The sculptor can chisel his thoughts into marble, and there they can imperishably remain. To what small extent can he express human emotion! The painter also places his thought on canvas.

As his art is more easily within his grasp, to change at will, he is enabled more fully to express emotion than is the sculptor. His finished work remains. While at work upon it he may change here and there to suit himself. That line and that shade of color, if not satisfactory, can be changed. Not so in music. At one stroke--in one tone even--the musician must express his emotion--and that expression, once uttered, is all that he can use of his art. It is a delicate thing and requires sure thought, complete mastery of emotion, and perfect ability in execution. Each and every stroke must be perfect.

Voice culture is the preparation of the body and its expression--voice--for use in this delicate art. Voice culture is that through which we approach art. It cannot be roughly handled. If art is to be delicately used, it must be delicately approached. He whose vocal practice is forceful and rough will never know the delicacy of true art.

He may become a vocalist after whom the ignorant public will clamor, but he can never be an artist. Seek the delicacy of true art, or decide to be forever a rough mechanic. One may hew wood or quarry rocks, or he may be a worker among jewels and precious stones. It is a time to say "Decide this day which you will serve." The two masters do not belong to the same firm and both cannot be served at the same time.

WORDS AND TONE SHOULD AGREE.

While singing, words and tone should agree. What does that mean, asks one. It can be well stated when we consider how they do not agree. If one sings "Sing ye aloud, with gladness," with a sombre tone the words and tone belie each other. This result invariably follows the attempt to cultivate the voice on vowels only, or on one single vowel. He who watches tone while cultivating his voice reaches this result. We express our thought while singing in words. Words are made by the organs of speech, the chief of which are the tongue and lips. The tone receives its expression from the pharyngeal cavity. If tone and words agree, the tongue, lips and pharynx will work harmoniously in accord. It is when one or the other does not work correctly that one belies the other.

Training of the organs of speech has been written upon so extensively that for now more need not be said. Suffice it to say, that the organs of speech can be trained upon a few enunciatory syllables in a short time, so that every word can be distinctly understood. There is no excuse whatever for our singers remaining so indistinct in their singing. The way of getting the tone to agree with the words, is what may be considered now. As said above, tone is regulated, so far as quality goes, in the pharynx. That organ can be put into working order and kept so through the expression of the face. The same thought is expressed on the throat which is expressed on the face. The same set of nerves operates the two organs. To show what is meant, recall that if you hear someone utter a cry, you know from its sound whether it is a cry of fright, of happiness, of fear, of greeting, of anger, or whatever it may be. The position and shape of the pharynx has made the cry what it is. One standing near the person would see on his face the look which corresponds with the cry uttered. In this case the word and the tone correspond. It is not easy to reach the pharynx for voice culture, except through the face. It can be reached in that way. The tone for general use in voice culture should be the bright one. Then the expression during vocal practice should be a bright one. All vocal exercises should be, on this account, practised with the face pleasant and expressing happiness. This fact led many teachers, years ago, to have their pupils smile while singing. It led to most ludicrous results.

The teachers said, "Draw back the corners of the mouth, as if smiling."

Very well. That may be good, but it has no particular beneficial influence on the pharynx, or upon the tone produced. The mouth is not the seat of expression in the face. Not that there is no expression to the mouth, but its changes are limited. The eyes are much more thoroughly the seat of expression, and through them the pharynx can be reached. Let the eyes smile. Let the whole face take position as if one saw something irresistibly funny, at which he must laugh. Practice with the eyes in this way will brighten the whole voice. It will relieve strain upon all the facial muscles and will render the organs of speech more pliable, too. Having obtained such control of the eyes that one expression can be placed in them, the student can attempt other desirable expressions. He will find that whatever is used in and about the eyes will affect the kind and quality of tone. He may arouse his interest in some particular thought and hold that in mind as he sings; the voice will then have warmth of tone and will readily receive meanings. He may express varying degrees of surprise in the face and he will find varying degrees, to correspond, of fulness and roundness go into the voice. The use of expression in the face as a means of giving character and quality to tone opens a field of experiment and experience which will lead any teacher to practical and beneficial result. It is not a new idea. Salvini, the great actor, has given some very useful thought on that subject. Little of such instruction, important as it is, has gone into print. Yet it is so important.